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Kate Bush

Isa Genzken, Untitled (detail), 2007, mixed media. Installation view, Plaza at the Liebfrauen-Überwasserkirche, Münster. Photo: Tim Griffin.

SMALLER AND MORE SUBDUED than its last incarnation, in 1997, Skulptur Projekte Münster 07 is also, perhaps, more thoughtful. Indeed, it holds its own in the context of the show’s distinguished history, and each previous installment has proved a fair barometer of its times. Thirty years ago, the very first Sculpture Projects was dominated by big American sculpture in the tradition of Land art. Monoliths by Claes Oldenburg, Donald Judd, and Carl Andre still dot the city and are now much loved by this Catholic Westphalian town’s initially recalcitrant citizenry. Bruce Nauman’s impressive Square Depression, a sunken inverted pyramid unrealized in 1977 and finally constructed this year, hovers like a ghost from that period. The second installment, in 1987, the “year of the figurative,” was characterized by the furor surrounding Katharina Fritsch’s yellow Madonna and by the then-fashionable

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